The white male dominance in the media industry is traditionally pointed out to be the reason for the problematic representations and stereotyping of historically underrepresented groups. However, the film and media industry’s mechanisms are challenged for a change with the advent of digital. By allowing the traditional passive spectator to be the progressive producer they would like to see in the industry, digital platforms allow people to themselves tell their stories, which points to the increased visibility of a younger and more diverse group of people. By pointing out the importance of self-representation, this paper examines Generation Z’s and the Millennials’ online habits, namely in TikTok and YouTube web series, to discuss its extent. It acknowledges the limitations of digital presence toward being a solution to social injustice, yet concludes that having such content within reach and the fact that such polyphony can be created without barriers is a great step forward for the notorious issue of representation.
In the last decade, broadcast television seemed to have engaged in a rivalry between not only streaming services, but also social media platforms; and the odds did not seem to be on its side. This paper examines the changes in television habits under the effects of streaming services and social media platforms, pointing to a downfall in its popularity. It furthermore investigates the impact of the recent health crisis, suggesting that the “death of television” is not yet to come as long as the old set keeps up with its younger, more dynamic, and more interactive competitors.
The reliance on the results Google search brings about is problematic when considered that those answers are only fragments of truth and are biased. The users tend to believe that the algorithm brings forth impartial results to whatever they search. This paper aims to point out how Google tells their version of a story by comparing it to the video game, Her Story (Sam Barlow, 2015). It further investigates how the way we engage with information sources is manipulated regardless of how autonomous we feel and how it affects our perception over them. It concludes that our interactions with such platforms reshape our minds and our understanding of the world; therefore, it is crucial to see its mechanisms.
Mainly known for her romantic comedies, Ephron reveals not only her personality but also her life journey in her films. The relationships, conflicts, and conditions change, but the characters remain close to Ephron’s heart throughout her filmography. One can see that her life is her biggest inspiration. This paper examines Nora Ephron’s protagonists through character development, motivation, and stakes, focusing mainly on Silkwood (1983), Heartburn (1986), and Hanging Up (2000).
include trans people into its long-established systems, which are not as well developed to incorporate the non-binary. Accordingly, certain boundaries are drawn in order to contain trans experience within what the system can manage with its limited resources and knowledge on the subject. As a result, performance and performativity seem to be embedded in trans lives to navigate the heteronormative system. While it acts as a weapon against voyeurism towards the trans body when the “object of interest” reverses the power structure by taking control over what people look at, it is a twofold subject. The process harms authenticity and results in an enhanced emphasis on media representation and stage arts; therefore, this paper argues that trans performativity does not contribute positively to trans inclusion in society. Pointing out that performances exist on a different plane than our daily lives, the paper concludes that it puts a safe distance between trans and the heteronormative, therefore might end up promoting further polarization.
Luchino Visconti’s 1943 film Ossessione is considered one of the earliest examples of Italian neorealist films even though it doesn’t reflect all its conventions. On the other hand, one can notice elements of the American film noir tradition. Both are styles emerging after the Second World War as an expression of the collective consciousness and traumas. This paper examines Ossessione as a great film to study the edges of film noir in an international context implemented near the beginnings of a groundbreaking movement in Italian cinema.
Not ya basic video teleconferencing software!
Instagram is our window to the world, especially when keeping up with the art world. But, the digital reproduction of interactive artwork and immersive experiences to post on social media creates issues as this impacts the meaning we get from them. Let’s discuss Instagram’s influence on arts, museums, and audiences.